Who should present Glenn Close the Oscar?

by Cláudio Alves

Glenn Close and Deborah Kerr at the 66th Academy Awards. | © AMPAS

By this point, everyone and their mother has heard about the Honorary Oscar recipients for 2026. It’s been decided by the Academy to bestow these honors on Ridley Scott, Glenn Close, and pioneering Black American animator Floyd Norman. Producers Pamela Koffler and Christine Vachon will also receive the Irving G. Thalberg Memorial Award, with nobody getting a Jean Hersholt Humanitarian Award for the first time since 2020. Much will be written about these artists, here and elsewhere, with plenty of time still to go until the 17th annual Governors Awards are held on November 15. However, to start things off, why not dispel some of the seriousness that comes as a package deal with such honorifics and enjoy a bit of silly speculation. Specifically, who should present Glenn Close with her long-awaited Oscar? 

Back in 1994, at the 66th Academy Awards, then five-time nominee Glenn Close had the privilege to deliver six-time nominee Deborah Kerr with the trophy she had earned since her Powell & Pressburger days. In actressexual and Oscar obsessive circles, this momentous occasion is seen with some irony, as it almost feels as if one perpetual Oscar loser passed her legacy to the next generation. Or should we call it a curse? If that’s the case, should Close keep with tradition and doom another thespian to a life without a competitive Oscar win? If that’s the case, the choice of presenter is clear…

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It's a Pride Party!: "Portrait of Jason" (1967)

by Joanna Sodeman-Taylor

Hello everybody! It’s been a minute since I’ve posted anything, and I’m excited to present a bunch of queer cinema this month. I love Ben’s pieces on queer cinema, and it kicked me in the pants to start plotting my own series. The thought of only having a straight person celebrating Pride at The Film Experience of all places - we can’t have it! Ahead of whatever I’ll be reviewing this month, let’s just define “queer” along some fairly broad lines. We got films explicitly focused on queer subject matter, films with queer people in notable roles on- and/or off-screen, subtextual queens, camp queens, objects that have become ensconced in queer culture for one reason or another regardless of their sexuality, and stuff my gay friends really like!

I’ll be kicking things off with Shirley Clarke’s seminal 1967 documentary Portrait of Jason . . . .

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Review: Stop Expecting Things and Let Spielberg Cook with "Disclosure Day"

By Ben Miller

Let's make an assumption, shall we? Let's assume Steven Spielberg, one of the most consistently successful and acclaimed filmmakers of the last 50 years, knows what he is doing. You might go into his new sci-fi thriller Disclosure Day expecting a certain kind of film, but that's on you, not him.

"That wasn't what I was expecting" is the death knell for films. This has very little to do with the quality of the film itself, but more to do with the marketing and filmmaker expectations. Even if your expectations were met exactly, isn't that boring? Wouldn't you rather be surprised instead of sitting in the theater for two-and-a-half hours with your arms crossed? Film should open up your expectations and show you something you weren't expecting. Spielberg subverts his own filmmaking while simultaneously conforming to it. Doesn't that sound great?

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First Predictions: Best Animated Feature

by Nathaniel R

JIM QUEEN is a French gay adult animated comedy about a virus that turns gay men into heterosexuals. It premiered at Cannes.

Every year I hope to become more of a voracious viewer of animated films. There's so much happening around the world in animation but international animation (beyond some films from Japan) rarely hits US movie theaters or stays for a long enough time to build a fanbase. The animation year started out unexpectedly strong with more animated films premiering at Cannes than is usually the case. And Annecy, the annual summer animation festival, is just around the corner -- we'll be reviewing a few titles from Annecy for the very first time -- though sadly we're not travelling TO the festival but responding to screeners. While we would love for the Best Animated Feature race to be a truly competitive international free-for-all each year, the stats suggest that it's always Disney's to lose. More accurately it's always Disney/Pixar's to lose (or at least it was until the 2020s) even if the selected nominees each year paint a broader picture of the artform...

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Very Gay Film/Very Straight Guy: "Bad Education"

For pride month, straight critic Ben Miller takes a look back at a gay film he otherwise would have never seen.

Much of the experience of taking in film is seeing yourself in the characters and situations. Part of why I wanted to write this series is for something exactly like this. Pedro Almodovar's Bad Education is completely foreign to me (no pun intended for the Spanish language). Every male character is either gay, transgender, or sexually fluid. If you are none of those things, how do you connect?

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